Natasha Marsh

I've just finished my second listen of to 'Kingdom of Heaven.' Being such a Zimmer fan, it was delightful to hear an entire work by one of his protoges. I need another several listenings to really peel back the layers, but I thought I'd offer up a few initial thoughts.

One can definitely hear the influence of Zimmer in this score, especially in his use of brass and solo vocals. It should be noted that there were similarities between the movies of 'Gladiator' and 'Kingdom of Heaven,' so it should be no surprise that the sound of this movie is reminicent of 'Gladiator.' On a quick side note, I really think 'Gladiator' set a standard for score composition, regardless whether one thinks that standard is good or bad; one need but take a look at almost any epic movie made since then to hear echoes of it's influence.

Despite these influences, Harry Gregson-Williams makes this score his own. I was particularly impressed with his softer touch, as it could have been easy to let the lead out on nearly the entire score, but HGW uses a softer touch, especially in the beginning. I was very happy with his use of choir, in what I believe is a step beyond the often solid walls of faceless sound heard in Zimmer scores. The choral dexterity allowed for a greater emotional dexterity, something needed in the first half of the movie. Brad was right to point out the penultimate track, 'Path to Heaven.' I had to listen to that track multiple times in a row to convince myself HGW hadn't ripped a line directly from Palestrina, Tallis, or Byrd. Regardless, it is a simply ghosty Agnus Dei, similar to what might one might have heard in the late medieval period. I'd say the modulations were a little more complex than was possible for the time - more like those seen in early Renaissance music than in anything just after the turn of the millenium, when these crusades were at their height. In essence for the purposes of the picture and score, such details are irrevelant I believe. I would also have liked to hear more from Natacha Atlas, the singer of the last track - her entire piece lacked a little je ne sais quoi. Perhaps I'm just wishing for a shadow of Ofra Haza, but I would have preferred a song with more vocal range and weight. Maybe I need further listenings.

I was dissapointed with the lengths of the tracks. I realize this might be due to the pace at which the movie moved, or maybe I'm just spoiled by the much-longer tracks of 'King Arthur,' but I only had a brief time to appreciate a theme or melody before it was over. I would have liked to see what HGW could have done in developing some of the stronger portions of this score. This brings me to another point. For all the really excellent parts of this score, especially in the beginning, I felt that several tracks were excessively whispy and passed by my ear almost without notice. I realize a composer's choices are heavily influenced by cinematic plot, but Zimmer has shown an ability to arrest the listener's ear even in the off moments, keeping you solidly engaged in the music first, and the movie second. I would have liked a little more depth to match the impressive breadth.

Overall I was very impressed with this score. HGW shows an ability to form his own voice while using the talents and strengths gained under Zimmer's guidance. Morever, he shows an ability to step beyond some of the aspects that sometimes hold Zimmer's music back from being greater. HGW's only been composing for a little over ten years and I look forward to see how he grows as a composer.

It is the type of music that transport you to another time and dimension. Excellent music for reading, meditating and making love!

When viewing a film and you feel you ARE THERE *and* have a good story, you have a Masters work.
None of the film betrays Scotts trasparent direction more than his attention to details.
I could have watched a 5 hour version

And the score sounded like a 'seperate' entertainment-likes sitting down to listen to Sibelius-yet it never intruded into the film-and the angelic choir theme was gorgeous

I received this CD in excellant shape but was disappointed that the CD did not have all the music on it from the movie. I have watched the movie several times and I purchased the CD just so I could have all the music from that movie. I was very disappointed to discover that some of the music is not on the CD but is in the movie.

due to purchasing this CD, and, after listening to it (which rendered it unreturnable) discovered that the soundtrack is incomplete: specifically the counter-tenor sequence that plays when Sybilla comes to view Baldwins' body, is missing.

I cannot believe this cd does not have any reviews yet! Why is Sarah Brightman so popular and Natasha Marsh not?

No doubt the two will be compared because they are both sopranos doing a mix of operatic orchestral music along with more popular songs. And they do sound very similar.

I love SOME of Sarah Brightman's stuff but I find many of her albums to be too full of synthesizers and drum machines and electronic sounds of that type, which ruin it for me. I prefer to hear REAL instruments and I also prefer the orchestral stuff. Too much of Brightman's stuff is just TOO pop oriented and the songs just aren't that good. I prefer more classic material for the most part.

Well, Natasha Marsh has it down. Her arrangements are great - all orchestral; and her voice beautifully handles the demands of this type of music. She also does a few "pop" songs but even those sound very classical.

I love the whole album, unlike many of Brightman's where I only like a few tracks - or, in some cases - none.

I highly recommend this cd if you are looking for classy, beautiful soprano singing with orchestral accompaniment.

a good introduction of opera to young kids. my daughter is 4 and loved the CD.

As a music teacher, you learn just how little non-pop music children are exposed to, so I made an effort to get them exposed to this form of musical art. I'm not a huge fan of opera myself, but I want my students to have an appreciation for all aspects of my art, and finding a way to introduce them to it without playing into their stereotypes of the fat lady with horns. So, I tried this CD, and am quite pleased with it. It gives enough of an overview that I can use it with my younger students, but has great classics so that I can go a little more in-depth with my older students. A great find!

I use this CD is my classroom for a wide variety of activities including art instruction for which it is ideally suited. It is hard to recommend this CD enough! Thanks for putting it together.

My one complaint is that after I listen to this CD, the catchy tunes get stuck in my head! And then I want to keep listening to it more and more. I love the selections on this CD, the fact that the songs are in English (I always wondered what the "Figaro, Figaro, Figaro" song was about!), and that a little background is given to each piece as well.

All I can say is my family LOVES this CD! We have a blast singing along, dancing, etc. It's made opera a new discovery for all of us.